Before they are famous

One of the glories of The City of London is its skyline. Now punctuated by soaring office blocks in the east, in the west it is still the steeples of its Wren churches that define the horizon. St James is an honoured part of that rich landscape.

The exterior of the church is deceptively simple. The steeple, however, is one of the City’s most beautiful and ornate. It is probably the work of Nicholas Hawksmoor and dates from around 1714-17.

Inside, the gallery with its handsome double staircase, was added to accommodate the organ, which was installed in 1719 by Johann Knoppel.

The ceiling is the highest of any City church and Wren was so successful at introducing natural light into the church that it became known as Wren's Lantern.

In the early nineteenth century, the great east window was found to be causing a structural weakness and was replaced in 1815 with a painting of the Ascension by Andrew Geddes. This was given to the Church by the Revd Dr Thomas Burnet, then assistant curate, who was to spend his entire ministry in the Parish. The present frame is a gift of the Joiners and Ceilers Company.

St James is unusual among City Wren churches in having a structurally separate sanctuary. The chancel area was enlarged in 1876 to take the pulpit, with its preacher’s hat peg, and the choirstalls, which came from St Michael Queenhithe (now demolished). The backs of these stalls were fashioned from the doorframes of the old church. The finely carved and painted Stuart coat of arms on the south wall is also from St Michael's, while St James' Georgian arms are displayed on the north wall.

The original woodwork includes the altar table carved with doves, the font cover and the churchwardens' pews at the west end. These are all recorded as having been carved by one of Wren’s favourite woodcarvers, Willian Newman, who also carved our reredos, plus the fabulous pulpit and font cover at Stephen Walbrook. The font is of marble with carved cherubs' heads and was carved by Wren’s master stone mason, Christopher Kempster. Vestry records for 22 August 1682 record that he was given a free hand in carving the font so long as his cost did not exceed £20 (equivalent to £3,600 today).

The original ironwork includes the mayoral sword rest with lion and unicorn supporters on the south side. Those on the north side are from St Michael Queenhithe. The wrought iron on the churchwardens’ pews, depicts St James in pilgrims’ garb. This piece of ironwork was reproduced by the Victorians, to create their gas lamp standards on the choir pews.

The hatchments are also from St Michael Queenhithe - and commemorate King George III and Princess Charlotte Augusta, daughter of King George IV.